Paste Magazine's Scores

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For 2,243 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 3.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Young Frankenstein
Lowest review score: 7 Reagan
Score distribution:
  1. Positive: 1,591 out of 2243
  2. Mixed: 515 out of 2243
  3. Negative: 137 out of 2243
2243 movie reviews
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  1. Tom Clancy’s Without Remorse
    Making it just a little bit smarter—taking out perhaps just one of its multiple, intelligence-insulting ending clichés—could make its plot simply boring rather than asinine, which would make the film dangerously forgettable, able to inflict 100-minute gaps into moviegoers’ memories at distances of up to 500 yards.
  2. Rebel Moon Part 1: A Child of Fire
    By the time the credits rolled, I realized I don’t think I’d ever watched a movie this long that still felt so brief and bewilderingly abridged; where so much happened and yet nothing happened at all.
  3. Jurassic World Dominion
    The Jurassic World franchise may have willingly chosen extinction with this final entry, but Dominion would’ve killed it off anyways.
  4. Kids vs. Aliens
    Kids vs. Aliens is a harmless trifle. A filmmaker with this many years under their belt should have more to show for themselves than that.
    • 58 Metascore
    • 35 Critic Score
    Brainwashed: Sex-Camera-Power
    The most galling, offensive thing about Brainwashed is how poorly it demonstrates a point that should have been so very easy to prove.
  6. Miss Bala
    Gina Rodriguez, who proved in Annihilation that she’s capable of something so much more addled and kinetic than this, does what she can with such aggravating material, but everything around her insults whatever emotional depth she can mine despite what she’s given.
  7. The Adam Project
    As with Free Guy, Reynolds and Levy have made a movie aimed at the dead center of mainstream geek culture, designed to be described as having so much heart—even though it’s as smooth and featureless as a Funko Pop.
  8. Unfrosted
    If there’s one apt element Seinfeld and company bring to Unfrosted, it’s that they knowingly treat it like a bunch of silly bullshit.
  9. 65
    Beck and Woods seem to have an entirely misguided conception of what people love about B-movies in the first place and, like A Quiet Place, 65 flounders in this middle ground because it won’t commit to being a genre film.
  10. The King's Man
    The King’s Man is an off-putting installment in a series that should have already ended.
  11. Jumanji: The Next Level
    Just like with Welcome to the Jungle, the action is serviceable, but lacks genuine thrills.
  12. Marmalade
    Marmalade is the kind of just okay, middle-of-the-road, nearly inventive but still mostly derivative indie that at least has the decency to be only 90 minutes.
  13. AGGRO DR1FT
    Aggro Dr1ft is less interesting than the video game cutscene it resembles, padded by a narrative peppered with the tropes of a hit man action film but lacking substance.
  14. Apartment 7A
    A discarded made-for-TV sequel to Rosemary’s Baby in the ‘70s is now just what most mainstream American filmmaking is, summed by prequel Apartment 7A: something stupid, easy and familiar to watch in the comfort of one’s home, confined to the medium that had once threatened to overtake cinema and is now doing so again all these years later.
  15. The School for Good and Evil
    The School for Good and Evil is juvenile, over-the-top and campy in all the worst ways. It’s too busy trying to combine TikTok fashion with Top 40 music and popular children’s fantasy films to create any visual, musical or narrative distinction for itself.
  16. The United States vs. Billie Holiday
    The overlong and tedious film opts for rudimentary Oscar-bait trappings and a crudely voyeuristic portrayal of the renowned jazz singer—a commanding performance by first-time actress Andra Day notwithstanding.
  17. John and the Hole
    A completely detached exercise in bewilderment that’s enigmatic nature comes off less Lynchian and more “unfinished scriptian,” director Pascual Sisto’s feature debut aims for intrigue but settles comfortably in mediocrity.
    • 44 Metascore
    • 35 Critic Score
    Fistful of Vengeance
    It is glorious to see a predominantly Asian cast, including Asian-Americans, and extended scenes set against a gorgeous Thai backdrop. However, there’s little else to enjoy in this middling martial arts flick.
  19. Peter Pan & Wendy
    I can’t imagine any child actually enjoying this film, let alone a child who is familiar with and fond of the original animated adaptation.
  20. Wildcat
    Regrettably, a gross number of missteps overshadow the Hawkes’ good intentions with this film. Even without Maya Hawke’s frumpy hag drag as O’Connor, complete with too-large dentures and an unfortunate wig, the lack of creative risk taken by the filmmakers, as well as the lack of research done by the team, sinks Wildcat before it gets started.
    • 52 Metascore
    • 34 Critic Score
    It's a Wonderful Knife
    Festive horror is a notorious subgenre, with last year’s runaway success Violent Night scratching this itch for many—to say nothing of classics like 1974’s Black Christmas. It’s A Wonderful Knife sports an equally clever parody title, but has little else going for it, coasting on the premise of Frank Capra’s classic and failing to stand out among its predecessors.
  22. Voyagers
    And as far as criticism goes, the tedious and trite, regressive and ridiculous Voyagers doesn’t need any more than it’s already going to get.
  23. Bushwick
    The lone beacon of subtlety and warmth here is Dave Bautista, a man I would like to give a long hug. Bautista is able to extract quiet moments of genuine empathy and reflection from the shitshow droning on around him, yanking whatever depth is available from the shallow husk of a character he’s given.
  24. White Men Can't Jump
    The confused comedy waddles onto the court as confidently as a kid in an oversized hand-me-down jersey. But why would this derivative filmmaking aspire to anything else? It’s all just set dressing for Jack Harlow’s brick of a big-screen debut.
  25. Stay Out of the Attic
    Despite (or perhaps due to) having four writers contributing to the script, Stay Out of the Attic is disjointed and incongruous, with thematic ties to twin experimentation, eugenic science and the medicinal properties of the optic nerve that never connect to reveal anything substantial.
  26. Poker Face
    The sparse action scenes are useless jumbles, tossing bodies in misblocked blurs of messy motion—like a human game of 52-card pickup—or encased in total darkness. If we can’t see anything, this gamble suggests, maybe we won’t think that what we see is bad.
  27. The Clapper
    The Clapper is just so boring and corny that all the audience can do is either feel bad for Helms or disingenuously applaud his unsuccessful efforts, mimicking his character’s chosen vocation.
  28. Knights of the Zodiac
    This live-action co-production between Sony and a Japanese animation studio begins with the colorful bounce of Paul W.S. Anderson directing a cosmic X-Men knockoff, and quickly runs out of gas in a way that resembles the worst of Sony’s Screen Gems genre arm.
  29. He Went That Way
    Surely a short film interview would have been more interesting, and engaging, than He Went That Way. It’s the kind of story that’s undeniably fascinating, but so bare-bones as a screenplay that it needs a little something more if it’s going to work, padded out either in the director’s style or in the writer’s script.
  30. How It Ends
    The problem dogging the film from the start is the absence of insight. Nothing that Wein and Lister-Jones have to say about facing the past, making peace with yourself and with the people who psychologically and emotionally scarred you over the course of your life, or even their most central concern, death, turns out to be worth hearing.
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